The Final Resolution of "nagu momu" Song

The Final Resolution of “Nagu Momu” Song

Carnatic singers, music critics, and Carnatic enthusiasts (including this author) have long been puzzled by this unique Tyagaraja composition. Its true meaning and import remained hidden till date. The song was composed more than two centuries back; sadly we do not have among our midst people who are experts in multiple fields (polymath) of music, Hindu scriptures, the Puranas, and Vedas. At best today we have intellectuals with a smattering of Sanskrit, Telugu, but they lack the erudition and impartiality of a great seer like Adi Sankara, or the catholicity of thought - to borrow a word from the Anglicized vocabulary. Certainly the revered Paramacharya could get to the root of issue in such puzzling matters; he always had an uncanny insight, perhaps a blessing of Devi Kamakshi. Actually the saint was an embodiment of Kamakshi.

Before proceeding any further, I must pay my dues (debt) to a number of people and books: Foremost, to my parents and in-laws for instructing and transferring faithfully the centuries (rather millennia) old Hindu traditions and scriptural knowledge. I owe a large debt to all my teachers and college lecturers. Some names I can recall readily like N. G. Sastri, Sanskrit Sastri, Bulusu Venkateswarlu, Rama Raju, but there are many more in the list. They taught me language skills in Telugu, Sanskrit, and English; taught me for a pittance pay yet with full vigor and devotion. Most importantly they trained me to think fearlessly, freely, and explore imagination to the fullest, rather the farthest. I got trained to question everything (all biases, even the most subtle hidden). Yet my teachers and elders helped me retain the sensitivity to appreciate the delicate petals of lotus, the celestial aroma of parijata, and the fine arts – all at the same time. 

Now let us dive into this moving devotional song. In my previous articles (blogs here and elsewhere) I gave word-to-word meaning in detail. But paraphrasing will not suffice for such a glorious kirtana. We have to enquire about its heart, the gist, and its essence. Here, we will confine to the explanation of the second stanza. Briefly it states thus: “It seems Garuda (khaga-raju = king of sky movers) followed You, as per your instruction (dictum, suggestion). Then he (the celestial bird) did not get deterred, he did not mind the enormous (light-years) distance between the Earth and the vast Cosmos. Or, perhaps he did get deterred or discouraged momentarily. O Lord, You being the ruler of the entire Universe, to whom shall I complain? Tell me. Please do not be angry with me. Do not ignore me and my pleadings. I cannot bear it any more. Please help me and guide me.”

For many years, the second stanza did not make sense to me. Then I was ignorant of the Puranas and other Hindu scriptures. Though we read some excerpts of Mahabharatam (Telugu), Ramayana (Molla), and Srimad Bhagavatam (Potana) we (I mean our generation, our classmates) are still not fully conversant with all the numerous intricate details. But due to sheer luck I got a copy of Andhra Maha-bharatamu, the Telugu translation by Tikkana (courtesy I L N). Here in this book we find an interesting dialogue between Garuda (son of Vinati) and a group of rishis assembled on the Himalayan hills. The fearless celestial bird narrated when asked to explain about Lord Narayana and His “essential concept” (tatva).

[Once during the production of ‘Amrita’ a fight erupted between Devas and Asuras. In the fight Devas got extremely tired and exhausted. They sought Brahma’s help. The lotus-born Deva (Brahma, the Creator) immediately went into deep meditation and prayed to Lord Vishnu using all His epithets (qualities). Then momentarily Vishnu came flying on Garuda’s wings and vanquished all the Asuras and vanished from the scene right away. It is impossible even for Brahma to know the essential quality of Lord Vishnu. In that context Brahma elaborated an incident that involves Garuda’s first encounter with Lord Vishnu. (This story is retold by Bhishma to Yudhistara in Mahabharata, Anusasanika Chapter, pp. 32 - 36)].

Garuda Tells About the Grandeur of Narayana

Once on the snow covered mountains (Himalayas) there was a meeting of rishis and Siddhas. Garuda came and paid respects to the assembled munis. During the ensued conversation rishis requested Garuda to enlighten them about Vishnu. “Garuda, you are dear to Lord Vishnu and being his vehicle you are close to Lord Narayana.  Also you are a great devotee of the Lord. Could you tell us about the great Lord and His methods?” 

Garuda continued saying, “It is difficult to understand Vishnu. Even many sages, Devas, and Gandharvas do not comprehend Him. Once I vanquished Lord Indra and secured ‘amrita’ for helping my mother. My mother was a slave then and I got her released from slavery with the ‘amrita’ from heaven. When I was bringing ‘amrita’ to the earth I heard a voice in the sky with these words: “Well done! I admire you. Will give you a boon. Soon you will be my vehicle.” Innocently I (i.e., Garuda) replied back thus: “First reveal yourself to me. Tell me who you are and then give me boons.” Lord Vishnu answered, “You’ll know when the time comes.” And that was the end of it.

Then I went back to my father (Kasyapa) and told him about what has happened. My father instructed me to seek Lord Narayana in the northern mountains near Badarika forest and serve Narayana with devotion. How lucky I am to be His devotee. Later I flew to the Himalayas in search of Vishnu. There I found draped in golden-hued dress adorned with His weapons (conch shell, Sudarsana chakra, Mace, and Lotus). The Lord asked me to follow Him through the vast space of limitless sky. I flew through tens of thousands of miles, passing through intense hot interiors of stars, and alternating between brilliant light and utter total darkness. Soon I got tired. Suddenly I felt lost in the vast limitless space devoid of light. I lost sight of Lord Narayana. I cried for help in utter distress. But how could I be helpless? When the whole vast universe is enveloped with Lord Narayana, how can I be far from Him? Soon I heard soothing words telling me thus: “Do not worry. I am in front of you. You will soon be free of hunger and thirst. You’ll regain strength.” Suddenly my weariness vanished and soon I was flying smoothly. And then after all the wanderings and endless flight suddenly I found myself back in Badarika, exactly where I had started. Lord Vishnu made sure I returned safely to the same mountain range. 

Garuda concluded with these words. “We will find Narayana in our own hearts when we approach Him with a pure sattvik state of mind. No amount of penance, fasting helps except a strong desire to reach Him – the quest with utter humility.” All the assembled rishis were very happy to learn about Narayana, that too directly from His own carrier, Garuda. (Garuda is the name of a modern airline!) So, the aforesaid narration gives context and explains the great composition. I bow in reverence to the great composer, Tyagaraju expressing umpteen thanks. Copyright 2024 by the author

Explanation by Dr. Balamuralikrishna

Nagu momu song in Dr. Balamuralikrishna's Voice

An Evening with Dr. M. Balamuralikrishna

An Evening with Dr. Balamuralikrishna

I vaguely remember (mind, my dear Watson, many memories over time can be inaccurate, often brain laces them with its own imaginary or disparate details, in an effort to produce a more durable colorful painting) my school days in that bustling culturally throbbing coastal town. Our family friend, Sri Ramana in one of his regular drop-ins announced, “We are going to Tyagaraja Festival (Aradhana) function in the town, today we may get to see Balamurali”. Though I had heard about the reputed vocalist, I was not fully aware of his extraordinary accomplishments in art. By then, he had already donned the role of Narada (the celestial messenger, a very devout singer of Hari, and Hara too; He is the offspring of Brahma and Saraswati), lent his voice as a playback singer in several Telugu films (ex: Nartanasala – oh, that classic BW timeless mythological artistic piece, on Mahabharata), and of course, he conducted a very popular program at AIR. Mr. Ramana, on the way to the festival venue, casually made a remark that remained in my consciousness till today: “Balamurali is no doubt a gifted vocalist, but often he drifts into experimentation”. Ramana is no average listener of (Carnatic) music. Nor he is like one of those pseudo-rasikas of modern day, who keep deluding themselves that by just keeping the beat (timing), they understand music. Though a simple artisan by day job, a watchmaker by profession, Ramana could sing impromptu any Tyagaraja song, with all its musical embellishments. He was, at the time, studying for a music diploma from Vijayawada, via distant learning. Music flowed effortlessly in Ramana’s family, his daughters played vina.

Years later, a close relative commented derisively – “These days, Balamurali goes on stretching the phrase ‘Hari’ in every (rendering of) composition”. Yet another family member, a student of classical dance, complained: “Balamurali came here, but he did not sing any Kannada compositions”. Little did she know that he had rendered Purandaradasa songs with the same vigor and passion as any number of Telugu compositions, not to speak of his playback singing in Hamsageethe. He even translated a well-known Purandaradasa composition into Telugu, with utmost fidelity and charm.

Till yesterday, I have not been able to see a Balamurali’s live performance, from beginning to end. Over the years, I have listened to many of his recordings, watched him on TV, but somehow I’ve always missed his programs. But, what a remarkable musical genius? Truly, one has to do certain – universally valid, mandatory things in life. Go and look at the Ganges at least once. Look at the rising sun on seashore, like Rameswaram beech. Shake hands with a science Nobel laureate. Meet a great inventor or a stunningly original thinker. And watch a first-rate classical dance (Odissi, Kuchipudi, or Bharatanatyam). Must see a scintillating performer like Yamini Krishnamurty at least once. Listen to a first rate composer like Dr. Balamuralikrishna. Sit quietly in front of a great saint, with no thoughts, no questions, just imbibing the supreme vacuum. Then, all great travails of life just melt away, rather sublime – leaving you in peace. In such times, you come to feel what is profound, what is not, what is worth arguing about, what is not, what is worth pursuing, etc. Did I miss listing Bismillah Khan? Ah, how did I omit S. Rajeswara Rao and Ghantasala? That’s why art is long and life is short.

Why? What is unique about Balamurali? After all, there are plenty of classical singers, both in Carnatic and Hindustani. It’s simple. Like in the West, many of the run-of-mill Indian singers (calling them just singers is a bit harsh, but some of them are just technically good singers, that’s all) just render the same old compositions (songs), and an assortment of ragas. True, the compositions are all great, but they were composed in the distant past, some even five hundred years ago. The vocalist may try to interpret, add a bit of her own original chords (sa, pa, thakidathom)– but that’s all. Even in this minimum requirement, many of today’s singers are woefully inadequate. Because such dry musical renderings fail to evoke ‘true feeling’ in listeners’ hearts, often totally missing (absolutely blanking out) in appropriate emotional quality. Often singers lack linguistic skills (third rate diction masquerading as great ability) and many performances fail to resonate with the astute listener. There are, always a few very attentive listeners (like Hanuma, who knows everything about music, poetry, and art) in every performance. They come from far off places, with earnest hope and expectation in their hearts. A real great artist must also create; in music, that means, composing. Dr. Balamuralikrishna is the only living vocalist who has composed his own songs, tillanas, in Telugu and Sanskrit. And of course, he performed a very wide range of compositions. Often his renderings (whether they are Ramadasu songs or Swati Tirunal Hindi compositions) crystallize into unsurpassable benchmarks in south Indian music.

The first song, a composition on the three devatas, Ganesa, Hanuman, and Krishna was his own creation. I heard it in an old cassette recording. Even at this age, his voice and energy are matchless. Except for a select few in the audience, most of the lyrics are beyond the comprehension of average audience. But it is not the fault of vocalist, for this pitiable situation. Unless one is well versed in both Telugu and Sanskrit, one will not understand his compositions, nor for that matter any other great songs (of Vasudevacharya, Annamayya, Tyagayya, Ramadasu, and others) their nuances, profound meaning. Why these three gods? It is simple, Ganesa is a remover of obstacles and also, He is the primal cause for critical mission failures. Ravana could not succeed in taking Siva’s atma-linga to Lanka, because he forgot to pray to Ganesa. Hanuman is an epitome of devotion, humility, fearless courage, and extraordinary wisdom. And, how can we have any melodious pleasing music without Krishna? Krishna, Himself is an embodiment of pure bliss, a distillate of pure ‘rasa’. Then the program developed into a multi-lingual music fare: A song on (his own) mother, Siva, another original composition on Durga (a composition only with sa, ri, da, ma), a Hindi Swati Tirunal composition (Jamuna kinare), Bengali (Rabindra) song, a Gopanna composition (paluke bangara పలుకే బంగారమాయెనా) and a fast tempo tillana (again his own composition).

[In future I will give lyrics of four or five of his original compositions that were sung in the program. Though I have the lyrics (in Telugu) with me right now, I have to transcribe with a font writer (Lekhini), then check for errors, and post them on the net. It means I have to find time, energy, mood, and patience. Foremost, I want to post this write-up quickly before I start forgetting finer details.]

Despite age, his voice still has the same reverberating, multi-tonal richness. His sudden bursts of exploding energy (some critics probably did not understand them) in elucidating certain phrases is blinding to the ears. I came to appreciate such energetic vocals by listening repeatedly some songs – Narayana te (నారాయణ తే నమో నమో), maru paluka (మారు పలుక కున్నావేమిరా), nagumomu ganaleni (నగుమోము గనలేని నా) etc. I mean no carping – but some times, the accompaniments (violin or chitra-vina) cannot translate such energetic pulses of multispectral sound. Then, during the concert, I also observed certain micro-modulations of voice, during extended elaborations of notes. Again, I could not hear the same modulation details in the violin; I could be wrong too. I have to go back to the audio recording and listen carefully to check this finding. Even now, Dr. Mangalampalli could hold a note for a very long period, putting the syllable suspended in mid air. It is as though he could nail a particular note on the wall, and say, “stay there as long as I command”. Obviously, the audience is carried away by such a mastery of breath, music, and absolute concentration. I mean no disparagement – but it is a fact – a glaring deficiency of modern narrow (technical/trade) education (Indian as well as Western), the college going student (I do not pick on the young, even elders have the same shortcoming) hardly knows languages (Telugu, Italian, Hindi, Sanskrit). So, in most concerts many listeners hardly understand a song, its lyrics, the underlying meaning, and the vast emotional repertoire of colors. The audience rather impatiently tries to sit, keeping the beat with hands, feet, and occasional twists and turns of face. Dr. Balamurali does not only compose great music, he also writes very clever, witty lyrics in Telugu. The reader has to consult his magnum opus, Suryakanthi to appreciate the range and depth of his compositions.

Dr. Saraswati

I came to know about her only through a cassette tape - it was the recording of a live concert by Dr. Balamurali in Pittsburgh SV temple. She could really (and why not? She is a polymath, a multi-linguist, and a versatile artist) enunciate in clear tone and diction, the essential information of a composition. This time too, she punctuated the musical pieces with very interesting, yet new background about the artistes. Of the vocalist, we come to know a few startling nuggets: Dr. Balamuralikrishna got the Best Singer award for a Malayalam movie, for a Hindi composition by Swati Tirunal. When he visited Calcutta, the local AIR got hold of him to record fifty Rabindranath Bengali songs – as gift of Rabindra sangeet to posterity. Though we knew of his French Chevalier award, little did we have any idea – how he got it? It seems the French musicians threw a challenge to Dr. Balamuralikrishna. Could you play one of our famous national songs, on your viola? Just by listening once. For a genius brain that holds the magical music key to all seventy-two mela-karta-ragas, this feat was no big deal (no brainer as they say here). He not only reproduced the French musical piece, but later he conducted their orchestra too, it seems.

Would the composer’s fans get to see in near future, a Bharataratna for Dr. Balamurali? Who knows, what are the politics behind the award? But, if the goddess Sarada plays her magic wand, he will definitely get it. Rather, if the Bharataratna award has to retain any future credibility, it should be given to Dr. Mangalampalli. And it should be given sooner, certainly while he is still performing on stage.

On a serious note, award or no award, his compositions, originality, and his total dedication to south Indian (Carnatic) music will vibrate forever in any music lover, if only she listens with a pure unbiased pristine heart. Forget the average, at best mediocre music critics’ silly opinions (you cannot blame ‘em, they have to churn out some froth to catch reader’s attention, to earn paltry word pay): Why does he smile while singing? ‘That unbearable smirk’ on face, etc.. Every serious artist is allowed certain latitude while performing, it could be a flashy statement-making dress, some bling-bling, a funny facial gesture, or queer headgear – all those things are an integral part of stage performance. No harm in that! People should not forget that the artist is in “his zone” while performing. Whether music critics like it or not, whether semi-literate music patrons cringe in disbelief or not – there is and will be for many decades to come, only one Balamuralikrishna on Indian music scene. I join hands with all his admirers in paying tribute to Sri Mangalampalli, may he enjoy good health and great voice for many years to come.

[Sorry, I could not cover here, the talent and performance of accompanists. I mean no slight to them. I am sure others will write and comment about them. At the moment, my interests and passion are drawn to understanding lyrics, their intricate meaning, the tapestry of literature, the underlying feeling(s), and bhakti component – that itself is a whole platter-full.]

After many years, we got to see a wonderful live performance. It was conducted without a flaw by the Albany Telugu association jointly with Pallavi. In those few hours, art has crossed the bounds of language, country, and culture. What a great elated feeling? For a moment, the experience has brought into sharp focus all that is good, sweet, caring, and ennobling in Telugu culture.

Draft composed after attending the Classical Indian Musical Concert by Dr. Balamuralikrishna and Chitravina N. Ravikiran, at SUNY-Albany on May 8, 2011. Copyright by the author 2011. This article has been first posted at Sulekha.